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Good friend, quoth he,

CLEO. Mine ear muft pluck it thence.
ALEX.
Say, the firm Roman to great Egypt fends
This treasure of an oyster; at whofe foot,
To mend the petty prefent, I will piece
Her opulent throne with kingdoms; All the east,
Say thou, hall call her mistress. So he nodded,
And foberly did mount a termagant steed,'

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termagant feed,] Old copy-arm-gaunt] i. e. his fteed worn lean and thin by much service in war. So, Fairfax: "His fall-worn fteed the champion ftout bestrode."

WARBURTON.

On this note Mr. Edwards has been very lavish of his pleasantry, and indeed has juftly cenfured the mifquotation of ftall-worn, for ftall-worth, which means ftrong, but makes no attempt to explain the word in the play. Mr. Seward, in his preface to Beaumont and Fletcher, has very elaborately endeavoured to prove, that an arm-gaunt fteed is a fteed with lean fhoulders. Arm is the Teutonic word for want, or poverty. Arm-gaunt may be therefore an old word, fignifying, lean for want, ill fed. Edwards's obfervation, that a worn-out horfe is not proper for Atlas to mount in battle, is impertinent; the horse here mentioned feems to be a post-horse, rather than a war-horse. Yet as arm-gaunt feems not intended to imply any defect, it perhaps means, a horfe fo flender that a man might clafp him, and therefore formed for expedition. Hanmer reads:

-arm-girt feed. JOHNSON.

On this paffage, which I believe to be corrupt, I have nothing fatisfactory to propofe. It is clear, that whatever epithet was ufed, it was intended as defcriptive of a beautiful horfe, fuch (we may prefume) as our author has defcribed in his Venus and Adonis.

Dr. Johnson must have look'd into fome early edition of Mr. Edwards's book, for in his feventh edition he has this note: "I have fometimes thought, that the meaning may poffibly be, thinfhoulder'd, by a ftrange compofition of Latin and English :-gaunt quoad armos.' MALONE.

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I fuppofe there must be fome error in the paffage, and should amend it by reading

And foberly did mount a termagant fteed,

That neigh'd &c.

Termagant means furious. So Douglas, in Henry IV. is called the termagant Scot, an epithet that agrees well with the steed's

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Who neigh'd fo high, that what I would have fpoke Was beaftly dumb'd by him.'

CLEO.

What, was he fad, or merry? ALEX. Like to the time o' the year between the

extremes

Of hot and cold; he was nor fad, nor merry.

CLEO. O well-divided difpofition!-Note him, Note him, good Charmian, 'tis the man; but note

him':

He was not fad; for he would shine on those

That make their looks by his he was not merry; Which feem'd to tell them, his remembrance lay

neighing fo high. Befides, by faying that Antony mounted compofedly a horfe of fuch mettle, Alexas prefents Cleopatra with a flattering image of her hero, which his mounting flowly a jaded poft-horfe, would not have done. M. MASON.

When I first met with Mr. Mafon's conjecture, I own I was ftartled at its boldnefs; but that I have fince been reconciled to it, its appearance in the prefent text of Shak fpeare will fufficiently prove.

It ought to be obferved, in defence of this emendation, that the word termagaunt (originally the proper name of a clamorous Saracenical deity) did not, without pafling through feveral gradations of meaning, become appropriated (as at prefent) to a turbulent female. I may add, that the fobriety difplay'd by Antony in mounting a fteed of temper fo oppofite, reminds us of a fimilar contraft in Addison's celebrated comparison of the Angel:

"Calm and ferene he drives the furious blast."

Let the critick who can furnifh a conjecture, nearer than termagaunt to the traces of the old reading arm-gaunt, or can make any change productive of fenfe more appofite and commodious, difplace Mr. M. Mafon's amendment, which, in my opinion, is to be numbered among the feliciter audentia of criticifm, and meets at least with my own unequivocal approbation. STEEVENS.

The

5 Was beafly dumb'd by him.] The old copy has dumbe. correction was made by Mr. Theobald. "Alexas means (fays he,) the horse made fuch a neighing, that if he had spoke, he could not have been heard." MALONE.

The verb which Mr. Theobald would introduce, is found in Pericles Prince of Tyre, 1609:

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Deep clerks the dumbs" &c, STEEVENS.

In Egypt with his joy: but between both:
O heavenly mingle!-Be'ft thou fad, or merry,
The violence of either thee becomes;

So does it no man elfe.-Met'it thou my posts?
ALEX. Ay, madam, twenty feveral mèffengers:
Why do you fend fo thick?s

CLEO.

Who's born that day

When I forget to fend to Antony,

Shall die a beggar.-Ink and paper, Charmian.Welcome, my good Alexas.-Did I, Charmian, Ever love Cæfar fo?

CHAR.

O that brave Cæfar!

CLEO. Be chok'd with fuch another emphafis! Say, the brave Antony.

CHAR.

The valiant Cæfar!

CLEO. By Ifis, I will give thee bloody teeth, If thou with Cæfar paragon again

My man of men.

CHAR.

By your moft gracious pardon,

I fing but after you.

CLEO.

My fallad days;

-

When I was green in judgement :-Cold in blood,
To say, as I faid then! But, come, away:
Get me ink and paper: he fhall have every day
A feveral greeting, or I'll unpeople Egypt.' [Exeunt.

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-So thick?] i. c. in fuch quick fucceffion. So, in Macbeth :
As thick as tale,

66

"Came poft with poft,-."

See Vol. VII. p. 354, n. 9.

My fallad days;

STEEVENS.

When I was green in judgment :-Cold in blood,

To fay, as I faid then!] Cold in blood, is an upbraiding expoftulation to her maid. Thoje, fays fhe, were my fallad days, when I was green in judgment; but your blood is as cold as my judgment, if you have the fame opinion of things now as I had then. WARBURTON. unpeople Egypt.] By fending out meffengers. JOHNSON.

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ACT II. SCENE I.

Meffina. A Room in Pompey's Houfe.

Enter POMPEY, MENECRATES, and MENAS.'

Poм. If the great gods be just, they shall assist The deeds of justest men.

MENE.

Know, worthy Pompey, That what they do delay, they not deny.

POм. Whiles we are fuitors to their throne, de

cays

The thing we fue for."

MENE.

We, ignorant of ourselves, Beg often our own harms, which the wife powers Deny us for our good; so find we profit,

By lofing of our prayers.

Ром.

I fhall do well:

8 The perfons are fo named in the firft edition; but I know not why Menecrates appears; Menas can do all without him.

JOHNSON.

All the fpeeches in this fcene that are not fpoken by Pompey and Varrius, are marked in the old copy, Mene, which must stand for Menecrates. The course of the dialogue fhows that fome of them at lealt belong to Menas; and accordingly they are to him attributed in the modern editions; or rather, a fyllabie [Men.] has been prefixed, that will ferve equally to denote the one or the other of these perfonages. I have given the first two speeches to Menecrates, and the reit to Menas. It is a matter of little confequence. MALONE.

9 Whiles we are fuitors to their throne, decays

The thing we fue for.] The meaning is, While we are praying, the thing for which we pray is lofing its value. JOHNSON.

The people love me, and the fea is mine;
My power's a crefcent, and my auguring hope
Says, it will come to the full. Mark Antony
In Egypt fits at dinner, and will make

No wars without doors: Cæfar gets money, where
He lofes hearts: Lepidus flatters both,

Of both is flatter'd; but he neither loves,
Nor either cares for him.

ΜΕΝ.
Cæfar and Lepidus
Are in the field; a mighty ftrength they carry.

POм. Where have you this? 'tis false.

ΜΕΝ.

From Silvius, fir.

POм. He dreams; I know, they are in Rome to

gether,

Looking for Antony: But all charms of love,
Salt Cleopatra, foften thy wan'd lip!'

9 My power's a crefcent, &c.] In old editions: My powers are crefcent, and my auguring hope Says it will come to the full.

What does the relative it belong to? It cannot in fense relate to hope, nor in concord to powers. The poet's allufion is to the man; and Pompey would fay, he is yet but a half moon, or crefcent; but his hopes tell him, that crescent will come to a full orb.

2

THEOBALD.

charms -] Old copy-the charms-. The article is

here omitted, on account of metre. STEEVENS.

3 thy wan'd lip!] In the old edition it is

thy wand lip!

Perhaps, for fond lip, or warm lip, fays Dr. Johnfon. Wand, if it ftand, is either a corruption of wan, the adjective, or a contraction of wanned, or made wan, a participle. So, in Hamlet: That, from her working, all his vifage wan'd." Again, in Marston's Antonio and Mellida :

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66 — a cheek

"Not as yet wan'd.”

Or perhaps waned lip, i, e. decreafed, like the moon, in its beauty. So, in The Tragedy of Mariam, 1613:

"And Cleopatra then to feek had been
"So firm a lover of her wained face."

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